GLOBAL ACADEMIC PUBLISHING
Bigotry and the Afrocentric
“Jazz” Evolution
By Karlton E. Hester
Phone: 607-777-4495
Fax: 607-777-6132
E-mail: [email protected]
Website: http://academicpublishing.binghamton.edu
Binghamton University, LNG 99
PO Box 6000
Binghamton, NY 13902-6000
GLOBAL ACADEMIC PUBLISHING
Third Edition
“Dr. Hester’s command over the jazz repertoire is impressive. There is a
refreshing directness in his writing, and an ability to judge the level of
necessary technical detail for the kind of audience he is aiming at. Perhaps most important of all is his willingness to tackle issues in the interpretation of jazz that some writers have run away from, to read jazz as
social text and to highlight issues of race, cultural propriety, and the
precise origins of artistic innovation.”
—Kofi Agawu, Professor of Music, Yale University
AUTHOR INFORMATION
Karlton E. Hester, Ph.D. (composer/flutist/saxophonist), began his career as a composer and recording artist in Los Angeles where he worked as a
studio musician and music educator. He received
his Ph.D. in Composition from the City University
of New York Graduate Center and is currently Director of "Jazz" Studies at the University of California in Santa Cruz. As performer on both flute
and saxophone, he is music director of the Fillmore Jazz Preservation Big Band and Hesterian
Musicism. Hester is currently music director of
Hesterian Musicism,
founding director of the
Fillmore Jazz Preservation Big Band in San
Francisco, and served as the Herbert Gussman Director of
Jazz Studies at Cornell University from 1991–2001. His formal study included Harry Nelsova and Paul Renzi on flute,
Joe Henderson and John Handy in "jazz" improvisation, composition with Bruce Saylor and Robert Starrer, as well as lessons with Frank Chase and Bill Tremble on saxophone.
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~ A great book to adopt for your classes ~
Bigotry and the Afrocentric “Jazz” Evolution
1-58684-228-5 $59.95
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DESCRIPTION
Bigotry and the Afrocentric "Jazz" Evolution is a reminder that much of the music driving the music industry and contemporary world culture has Afrocentric origins.
Many people love “jazz” while refusing to acknowledge the progenitors of the music. The
text:
▪ surveys traditional African music and its links to “jazz.”
▪ highlights “jazz” innovators from 1900 to the present.
▪ traces the rise of Eurocentric claims to ownership of “jazz.”
▪ examines the effect of racism and sexism on the perception of “jazz.”
▪ is supplemented by a CD-ROM encyclopedia of music, musicians, and
recordings.
▪ is linked to a companion website, www.aainovators.com, which provides
additional resources for professors and students.
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▪ Charles Tolliver
▪Toshiko Akiyoshi
▪ “Traditional Jazz” Continues
▪ 1960s Music Outside African-American Culture
▪ Summary: The American Society that 1960s Music Reflected
XI – Innovators Emerging Between 1970 and 1980
▪ Changes Around the World
▪ Spiritual “Jazz” and the New Musical Settings: Changing Attitudes in Europe
▪ Connecting Fusion, Miles Davis, and Jimi Hendrix
▪ The Crossroads of Stylistic Evolution
▪ More Conceptual Expansion
▪ Instrumental Style Continues to Evolve
▪ A Historical Summary
XII – Innovators Emerging Between 1980 and 2000
▪African-American Music in American Marketplace
▪ Families of Musicians
▪ Snapshot: Bay Area “Jazz” in the Early 1980s
▪ The Contemporary Midwestern “Jazz” Scene
▪ Rap and Hip-Hop Culture
▪ Contemporary Politics and Labeling African-American Culture
▪ Summary: Afrocentric Snapshots of Shrinking Society
BOOK REVIEW
of the first edition, From Africa to Afrocentric Innovations Some Call “Jazz”
This textbook is written by an insider, not as an observer sitting at a table in the audience trying to understand what is happening on stage.... The text From Africa to Afrocentric Innovations Some Call "Jazz" will become required reading in all substantial
music departments and departments of the arts. I immediately recognized the value of
his contribution to the contemporary musicology. His textbook is an example of Five
Star authorship. Read it and enjoy.
—Donald Byrd, musician
GLOBAL ACADEMIC PUBLISHING
Global Academic Publishing (GAP) is a non-profit unit of Binghamton University, State University of New York. GAP publishes scholarly texts and
journals for a variety of academic institutions and scholars. GAP has become recognized as a major publisher of scholarly texts and studies in a
wide range of intellectual, philosophical, religious, and/or cultural traditions, notably Islamic Studies, Judaic, and Africana. For more information
visit http://academicpublishing.binghamton.edu.
TABLE OF CONTENTS
Prologue – An Introduction to Afrocentric Music
▪ Afrocentric Origins of “Jazz”
▪ Eurocentric Documentation and Control of African-American Music
▪ The Impact of Racism and Sexism
▪ Summary
I – Tradtional African Music
▪ Formulating an Approach to Understanding African Music
▪ Africa Before the European Slave Trade
▪ Early African Contact with Europe
▪ Women, Music, and Religion in Africa
▪ Stylistic Regions of African Music
I. Northern Africa
▪ Stylistic Regions of Sub-Saharan African Music
II. Eastern Cattle Area
III. Congo Area
IV. Guinea Coast Area
V. Khoisan Area
VI. Sudan
▪ The Function of African Music in African Culture
▪ An Overview of Musical Style
▪ Characteristics of African Music
▪ European Methods of Examining African Culture
▪ Summary
▪ A Survey of African Kingdoms
II – The Sociocultural Context in Which African-American Music
Emgered
▪ The Natives of America
▪ Africans’ Limited Access to Musical Instruments and Performance Venues in
America
▪ Slave Era Music and Cultural Cross-Fertilization
▪ African-American Music Convergence Affected by Sex and Marriage
▪ Sociocultural Influences on Seventeenth-Century African-American Music
▪ Eighteenth-Century Sociocultural Changes
▪ Witch Craze
III – Traditional African-American Music
▪ Music Evolves During the Struggle for Independence and Equal Rights
▪ American Folksongs and the Blues: Pre-Civil War
▪ American Folksongs and the Blues: Post-Civil War
▪ Marches
▪ Minstrel Shows
▪ The Dawn of Ragtime
▪ The Term “Jazz”
▪ Musical Influence on Religion, Racism, and Revolution: Voodoo
▪ Jim Crow Segregation Perpetuates Segregated Musical Styles
▪ Summary
IV – Innovators Emerging Between 1900 and 1910
▪ Ecumenical Music Retention
▪ The Continuation of Double Entendre and Other Modes of Communication
▪ Afrocentric Dance and Musical Cross-Fertilization
▪ Early Blues
▪ From Vaudeville to Ragtime
▪ New Orleans – Dixieland “Jazz” (“Traditional Jazz”)
▪ Turn-of-the-Century Women Musicians
▪ New York – Tin Pan Alley
▪ African Musical Influences in the Americas
V – Innovators Emerging Between 1910 and 1920
▪ The Blues Continue to Evolve
▪ Ida Cox and Migrations to Northern Cities
▪ Sidney Bechet and the Early Transition from Clarinet to Saxophone
▪ Evolution of the Early Piano
▪ Politics and the Twentieth-Century African-American Church on the Eve of the
Harlem Renaissance
VI – Innovators Emerging between 1920 and 1930
▪ Snapshots of American Society
▪ The Effects of Changing American Demographics on Music
▪ New Orleans and the Movement East
▪ Swing and Its Precursors
▪ Chicago Dixieland
▪ The Jelly Roll Morton Documentary
▪ Louis “Satchmo” Armstrong and His Associates
▪ Big Bands and the Approaching Swing Era
▪ The Media Continues to Burgeon
VII – Innovators Emerging Between 1930 and 1940
▪ The New “Swing” Bands
▪ Women’s Bands During the Early Twentieth Century
▪ Emma Barrett
▪ Other Women Artists
▪ Toward Greater Individual Expression
▪ The “Age of the Sax Masters” Coleman Hawkins and Lester Young
▪ The Voice Continues to Be a Strong Influence
▪ Ellington’s Afrocentricity and the European “Mirage”
▪ The European Image of “Jazz”
▪ Other African-American Dance Bands
▪ A Glance at the Development of the Guitar in Early “Jazz”
VIII – Innovators Emerging Between 1940 and 1950
▪ Basic Blues and Early Precursors of Modern “Jazz”
▪ Bebop Ties to Past and Present Cultures
▪ Bebop Begins to Evolve
▪ Bop Brass Instrumentalists
▪ Bebop Pianists
▪ Other Bop Era Pianists
▪ Women Vocalists and Instrumentalists during the 1940s
▪ “Progressive Jazz”
▪ Summary
IX – Innovators Emerging Between 1950 and 1960
▪ Continued Resistance to African-American Freedom
▪ Changes
▪ Miles Davis and “Cool Jazz”
▪ Louis Jordan and Sonny Rollins
▪ John Coltrane and Other New Approaches to Spontaneous Composition
▪ Ornette Coleman
▪ Cecil Taylor
▪ Sun Ra
▪ Charles Mingus
▪ Two “Jazz” Harpists in the 1950s: Dorothy Ashby, Corky Hale
▪ Art Blakey
▪ Phineas Newborn
▪ Summary
X – Innovators Emerging Between 1960 and 1970
▪ Evolution of Innovative Music for 1960s Audiences
▪ Restructuring Musical Approaches
▪ Artistic Expression or Entertainment?
▪ Betty Carter
▪ Alice Coltrane
▪ Eric Dolphy and the “Jazz” Critics
▪ Albert Ayler
▪ The Association for the Advancement of Creative Musicians
▪ The Emergence of the Art Ensemble of Chicago
▪ Dewey Redman, Art Davis, and the New York Scene
▪ Amina Claudine Myers
▪ Pharaoh Sanders
▪ Archie Shepp
▪ Joanne Brackeen